Mario Vargas Llosa’nın Lituma en los Andes Adlı Romanında Anlatının Yapısı
Bu çalışmada, Mario Vargas Llosa’nın Lituma en los Andes (And Dağları’nda Terör) adlı romanındaki anlatı yapısı; anlatıcı, anlatı kipleri ve zamansal çerçeve gibi öğeler açısından incelenmektedir. 1960’lı yıllarda ortaya çıkan ve Latin Amerika Edebiyatı’nın dünya çapında dikkat çekmesini sağlayan “boom” adlı dönemin yazarlarından biri olan Mario Vargas Llosa yapıtlarında yenilikçi teknikleri ustalıkla kullanır. 1993 yılında yayımladığı And Dağları’nda Terör adlı eseri de öykü içinde öyküleri, labirenti andıran yapısal özellikleri ve kurgusu bakımından zengin bir yapıttır. Romanda ana öykü, And’larda bir dağ köyü olan Naccos’taki bir karakolda görevli olan Çavuş Lituma ile yardımcısı Er Tomás’ın kısa bir süre önce kaybolmuş olan üç kişiyi bulmaya ve aslında ne olduğunu çözmeye çalışması etrafında şekillenir. Lituma’nın bu iz sürme macerası ise anlatıyı bir yandan Aydınlık Yol (Sendero Luminoso) gerillalarının bölgede yarattığı terör ortamına, diğer yandan ise gulyabaniler, apular gibi efsanelere götürür. Anlatıda, zaman ve bakış açısında yapılan değişikliklerle birçok başka öykünün de aralara serpiştirildiği ve her birinin, geçmiş ile şimdi arasında geçişler yapılarak yazar tarafından ustaca örüldüğü görülür. Bu bağlamda çalışmanın amacı, Fransız düşünür Gérard Genette’in Anlatının Söylemi: Yöntem Hakkında Bir Deneme adlı eserinde etraflıca ele aldığı ve Marcel Proust’un Kayıp Zamanın İzinde adlı eserine uyguladığı yöntemi ana hatlarıyla açıklamak ve And Dağları’nda Terör romanını bu teoriye göre inceleyerek eserin yapısını ortaya koymaktır.
The Narrative Structure in the Novel Death in the Andes by Mario Vargas Llosa
This study examines the narrative structure in Mario Vargas Llosa’s novel Death in the Andes in terms of elements such as the narrator, narrative modes and temporal framework. Vargas Llosa, one of the authors of the so called “boom” period, which emerged in the 1960s and made Latin American literature attract worldwide attention, skillfully uses innovative techniques in his works. His novel Death in the Andes, published in 1993, offers a multi-layered lecture by presenting a story within the story, a labyrinthine structure and fiction. In the novel, the main story revolves around Sergeant Lituma and his deputy Tomás, who are on duty at a police station in Naccos, a mountain village in the Andes, trying to find three people who had recently disappeared and figure out what actually happened. Lituma’s adventure of investigation takes the narration to the terror environment created by the Shining Path (Sendero Luminoso) guerrillas in the region and also to legends such as ghouls and apus. Also, it’s seen that the author brings together many different stories and skillfully connects them using transitions between the past and present. In this context, the aim of the study is firstly to outline the method elaborated by the French philosopher Gérard Genette in his book The Narrative Discourse An Essay in Method and applied to the novel In Search of Lost Time by Marcel Proust, and secondly to examine the novel Death in the Andes according to this theory.
This study aims to analyze the narrative structure in Mario Vargas Llosa’s novel Death in the Andes according to Order, Duration, Frequency, Mode and Voice, the terms stated by Gérard Genette in his theory of Narrative Discourse, and to reveal different aspects of the novel.
Mario Vargas Llosa, one of the Nobel prize-winning authors of the era named “boom”, which emerged in the 1960s and made Latin American literature attract worldwide attention, skillfully uses innovative techniques in his works. His novel Death in the Andes, published in 1993, offers a multi-layered lecture by presenting a story within the story, a labyrinthine structure and a strong fiction. In the novel, the main story revolves around Sergeant Lituma and his deputy Tomás, who are on duty at a police station in Naccos, a mountain village in the Andes, trying to find three people who had recently disappeared and figure out what actually happened. Lituma’s adventure of investigation takes the narration to the terror environment created by the Shining Path (Sendero Luminoso) guerrillas in the region and also to legends such as ghouls and apus. Also, the author brings together many different stories and skillfully connects them using transitions between the past and present. In this context, the aim of the study is firstly to outline the method elaborated by the French literary theorist Gérard Genette in his work The Narrative Discourse An Essay in Method and applied to the novel In Search of Lost Time by Marcel Proust, and secondly to examine the novel Death in the Andes according to this theory.
The first and most prominent aspect of the novel is its complex and immersive structure in which the intertwined stories follow a labyrinthine structure. These stories, which emerged during the investigation carried out by Lituma, are the most important elements that enable the narration to become more labyrinthine and bring together different times and spaces. Thus, in the first parts of the work, it’s thought that the kidnappers might be the Shining Path guerrillas, while in the following pages, a more complex framework is formed by including legends and supernatural beings in the narration. Many other supernatural stories, such as the story of the ghoul Salcedo, told by Doña Adriana, suggest that supernatural forces might be the cause of the disappearances, while the executions and acts of violence by the Shining Path continue in the area. The protagonist of the novel increasingly falls into doubts and questions in this investigation –until everything is clear at the end of the story– and drags the reader with him through the narration.
Finally, another striking structural feature observed in the novel is that the narrator, in some episodes, conveys what happened in different times and places to the same point and narrates them in an intertwined manner. Vargas Llosa calls this technique, which he uses in many of his other novels, the communicating vessels. This technique, which allows creating stories within the story, also opens the way for a narration in the form of Chinese boxes. In the novel, the change of the narrator in the second parts of the 6th, 7th, 8th and 9th chapters, and the transformation of Doña Adriana, one of the characters of the narration, into a first-person narrator can also be evaluated as a result of these techniques. Also, these chapters, which tell the story of Dionisio and the murder of the ghoul Salcedo, take place at the metadiegetic level and, as Genette defined, there is a direct causality between the events of this meta-story and the main story.
